Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Madagascar and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1978.
I'm losing my edge.
To all the kids in Delhi and Lille.
I'm losing my edge to the art-school Stockholm kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing James Chance & The Contortions to the funk kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Sällskapet. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Mars record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Erasure,
Blake Baxter,
The Kinks,
Ultravox,
Matthew Bourne,
Juan Atkins,
Tom Boy,
Radiopuhelimet,
T. Rex,
Interpol,
Stiv Bators,
Sam Rivers,
Gang of Four,
Gregory Isaacs,
Hoover,
Negative Approach,
Fear,
Warren Ellis,
Terrestrial Tones,
A Certain Ratio,
The Knickerbockers,
Swell Maps,
Marc Romboy vs. Booka Shade,
Von Mondo,
The Music Machine,
Sonny Sharrock,
Eric Copeland,
Leonard Cohen,
Can,
Fort Wilson Riot,
JFA,
Sandy B,
Vainqueur,
The Moleskins,
the Soft Cell,
Red Lorry Yellow Lorry,
Chris Corsano,
10cc,
Zero Boys,
The Blues Magoos,
Eric B and Rakim,
Aaron Thompson,
Essential Logic,
Desert Stars,
Sex Pistols,
David Axelrod,
Mars,
The Black Dice,
Jeff Lynne,
Minor Threat,
Aural Exciters,
Junior Murvin,
Ossler,
Crash Course in Science,
Lakeside,
Kenny Larkin,
Ralphi Rosario,
Notorious Big And Bone Thugs,
June Days,
Jerry Gold Smith,
The Monks, The Monks, The Monks, The Monks.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.